Lesh is WAY too loud here. So just about perfect!

This is the gig they played in a low security prison library for Owsley while he was incarcerated. We are so lucky that this was captured and that it is accessible. It was fashionable, after Cash, to play Cal prisons but this took on a different attitude: the legend is that the crew saw to it that many prisoners and employees got dosed. Imagining the scene is essentially existentially impossible. This is sometimes listed as San Pedro. Pedro is a district of the City of Los Angeles, but Terminal Island is technically part of the Port of Los Angeles, and not considered part of that district. This show was added on their way from Connecticut to play the Hollywood Palladium, across town. The SBD is very Phil-heavy; and somehow there are no AUDs! Playing one 2hr set, the setting precluded long jams, but it's still jammy in places. The top is better - they never quite recapture the first half, as others have noted. Watch how a string of Dead lyrics take on extra weight:
Truckin' is tight and interesting. Busted!. Bobby tells the Yellow Dog story to chiack from Pig. This is a great version of Bertha; just fun. Throw me in the jailhouse. Bobby McGee was played nightly in this period; busted flat/freedom's just another word. Even if it's not even the week's best, Hard to Handle is awesome. They had reeled them in, then they take 'em for a ride: this China Cat>Rider is ten pounds of dynamite in a five pound bag. Gonna miss your baby. The beginning of Loser-SS is slightly cut; If I had a gun. And whoosh, the tightness is gone that quickly, with a nearly trainwrecked Playin' heading a downward trend that is probably just an indicator of how damned strange things were getting (the usual standard is for the familiar to become unfamiliar). Others look for fights/got no sin upon his hand. Pig, whom the crew was careful not to dose, has to try to keep it together for Next Time You See Me; You lied, cheated for so long. Me & My Uncle is pretty solid but the SBD has accumulated distracting distortion at this point; I shot him down. There's a Big RxR tease, but its Casey Jones; You'd be better off dead. Cumberland Blues is missing the intro and part of the first verse. Sugaree also has a cut. The second one ever, it's a very straight read; when they come to take you down/meet you on the run. El Paso is downtempo and waltzy; The foul evil deed I had done. Mr. Charlie is also the second one ever - and the first decent one; Scare you up and shoot you. The last three are on Road Trips v1n3 (odd picks since they don't really stand up against the era). They are only one minute into Lovelight when the breakdown starts. It stays jammy - even through more verses - but Pig is in a position where he can't do a rap about putting your arm around a lady or so forth. But he does his best - I imagine this was in a fully day-lit room? This must have been a very weird gig. The first half is above average and the second below, but don't shy away if you like the period.
Overall = 2½ stars

Highlights:
Truckin' - tight and interesting
Bertha - great version & thrown in the jailhouse
Hard to Handle - Pig's magic month for this one
China Cat Sunflower - also magic this month

Bangin Phil on Hard to Handle WOW !

Phil is indeed rockin' the bass on this occasion. But the show is not much for jams, and is loaded with flubs. Still, good enough for a 4, I reckon.

Highlights: Hard To Handle

This is outstanding and a good companion to Jerry at OSP in 75.
This is just beautiful from the tunes to the harmonies.
The jam in Hard to Handle is pretty unique.
Yellow Dog is a little different every time it get's told. (Pig does not jump into this one)
Jerry makes a crack about
"We are used to people breaking in"

I've only got to the end of "I know You Rider" so far, but I'm surprised - this is a little gem! OK - no extended jams, but don't get the idea they're just bashing out vanilla versions of the songs. The small bits of jammimg there are, are just perfect. Point in question: moving from China Cat to Rider - just for a short time, we're suspended between worlds - first Going Down the Road comes in, and doesn't seem to want to leave - eventually it gets replaced by Rider, but even then little teases creep back. Sublime!

Top Reasons: Bass bombs by Phil galore, Bobby telling bad jokes, classic set list, Pigpen on lovelight. Only major concern was the lack of jamming. I understand the jail situation so what are you gonna do, might as well dance. Like the vocals and overall concert! Thanks for the board! :)

What a great discovery this show was for me! A great high-energy set typical of '71 with minimal jams but expert, tight playing with just enough looseness. The only person to outshine Pigpen on this is Phil. If you're a Phil fan, this is a must hear.

very interesting setting for this show, lotta good tunes played in there, pretty loose but well played for the most part, hard to handle was good

That is definitely Phil on the high harmony. There was no Keith and Donna yet. I believe Keith joined within a month or two or this show, but Donna didn't start singing back-up until 1972. Anyway, good show, love Hard to Handle everytime.

gvtmule, how right you are about Phil singing the high notes - and I'd venture to say that most of us who've made it into this "dimension" are real 'heads' and 'die-hards', beantown_adc!
Love you all!

The playing is excellent, and the imaging is exquisite. And, unlike far too many shows from '71 the instruments are pretty consistently in tune. But the blowout -- and in some cases obvious oversaturation in the original source -- of the bass is just too tragic.
This is a great show if you're a real 'head and can look beyond the aural flaws. But the fuzz on the back end make it a challenge, particularly if you're not a die-hard.

great stuff,
you can hear pig in the back ground at the end sequence "you gotta drive it" very cool, a one of a kinder, Im not sain that this is the best version of the song, but i'd say it is unique in attitude. it' similar to the 1970's not fade away's where you can here him adding vocals, say from the fillmore east in september.
Also a very good time for hard to Handle, the 6th is famous, also check out the 26th of august, the end jam is what makes H2H best in 1971, and tops any other artist IMO, this was peak time for GD.
Finally this is a great period for billy, hear him on Goin down the road, something really clicked in his groove right into europe and was enhanced by keith's baby grand coming in october when he joined the tour, with this material gdtrfb-nfa , it was as if keith was a second percussionist at times, which starts to build from billy in august.

enjoy

That's Phil singing the high notes.

Billy Billy Billy. God love ya. Kept the focus throughout. So consistent...beat the heart...when there was no Hart.

It's a shame Phil's bass blew up. That is one awesome Hard To Handle. There was some real palpable energy to this show. Bookmarked it...one of my faves!!!!

This whole show is GREAT! I have been looking for it for some time now and finally it is here! The sound is fine . . . Phil's bass blows up but he still brings the heat! Do Not overlook this show!

Err, would have made a great Road Trips .... Yikes, some of it already is .... the whole show would have been even better. As for some of the reviews:- "Regarding the high harmonies, I'm pretty sure thats Donna on the first few tunes at times, and other times during Bobby Mcgee thats Jerry. Donna was brought in because the boys couldn't sing the high parts over and over without hurting their chords. She and Keith were with the band in the last of Pigs days. Spooky Luke and I used to argue about wether or not this was true, but it is I assure you. :) Reference Europe 72' to catch a bit more of the transition".
Well, as Keith's first show wasn't until October 19th 1971 and Donna didn't appear until even later, I doubt it. Get your facts right people - we don't want to look like a bunch of amateurs!!!

how many times did he tell this joke on stage?I have at least 7 or 8 between 69 and 71,did he know any other jokes?was it an inside joke,does anybody have any history on it.otherwise the show is another classic 71!!thanks CM and everyone else responsible for these tapes and the ark!

GET IT WHILE YOU CAN, GET IT WHILE IT'S FREE, GET IT NOW OR YOU'LL BE SORRY...
FIVE (5) PIGPEN SONGS = FIVE (5) STARS
* * * * *
This show is so good it makes you wish you were in prison on August 4, 1971 just so you could've been there.
1971 is My Favorite Year for the GRATEFUL DEAD.
Phil's bass is FAT-N-FUNKY. I love Phil's sound in 1971. Garcia's sound in 1971 was also amazing.
When Phil strummed them bass chords, he would raise dust clouds on Jupiter, Saturn and Mars.
At the end of Me & Bobby McGee, Bobby says "we're gonna take a moment here to find out what blew up over there".
Phil and the sound guy have problems with Phil's bass channel...but hey man, I doubt the prison gave the GRATEFUL DEAD much time if any for a sound check...but the performance is right on.

I recommend adding this show to your 1971 collection.
Eat, drink be merry & listen to the GRATEUFL DEAD
Thanks for the love.

First off... how cool are we! I mean lets all puff our heads hard for the fortune of hearing this. Its like if Fulsom Prison live was only available to few lucky hard core fans. Soo sweet! Soo gratefully bad ass. Regarding the high harmonies, I'm pretty sure thats Donna on the first few tunes at times, and other times during Bobby Mcgee thats Jerry. Donna was brought in because the boys couldn't sing the high parts over and over without hurting their chords. She and Keith were with the band in the last of Pigs days. Spooky Luke and I used to argue about wether or not this was true, but it is I assure you. :) Reference Europe 72' to catch a bit more of the transition.

this show is great quality but does have a tiny bit of distortion on phils bass

Definitely some distortion problems on a lot of the tracks which is a pity because this show has a real sweet vibe. Phil is "on" and mixed to the front but nobody is slacking.
I'm not sure that the Dead performed any versions of Me and My Uncle prior to 1975 that were bad, but this one is one of the best (anybody want to compile a top ten versions of that song ;).
ALL the Pig songs are worthy, but like I said: there is a certain vibe. Good liquor?
For whatever reason, the Hard to Handle is especially well recorded. Big Boss Man has distortion but ... you just have to listen to this show to understand.

I agree Phil is dropping it hard in this show!
The quality is phenomenal. I was cracking up during Bobby's Yellow Dog Story.
Hard to Handle is very nice. Excellent Jam which stays together nicely. Seems like a couple of times they were playing off of sheet music! Very nice. Made me wonder what kinds of substances could possibly be admitted into a place like Terminal Island Correctional Facility...
China Cat was excellent as Jerry seemed to tickle you under the chin like a baby with his notes which dropped like rain. Rider was nice too. I started thinking abut the line, "I wish I was a headlight on a northbound train, I'd shine my light through clear Colorado rain." I can almost imagine what it felt like to light passing through space and time ;)
I never realized how high Bobby sings until I heard the chorus on Loser. I mean, if its just Bobby and Pigpen singing background, then man, Bobby's getting up way there. I don't think Bill or Mickey sing, do they? I've always liked those high notes hit in the background. Nice. I'm one of those guys that actually like Donna's contribution and those high notes, overshadowing the melody are just sweet.
If you listen, you can hear Bobby mess up Playin but that's ok. You can really feel for him. There has got to be a lot going through his mind. He seems to be trying to hold it together. You know that feeling when you feel the grip of reality loosening from your hand as you begin to float away? I got that vibe from Bobby in Playin. One of the reasons I think Pigpen stepped in for Next time you seem me.
Next Time You See Me had some nice harmonica jams, that you certainly don't hear that often any more.
I really enjoyed Uncle. Again, Bobby was really into the song and screaming.

Casey starts off rough but ends suburb. And you know that notion just crossed my mind. I stepped away for a while but was drawn back by the Sugaree. Just seemed to keep on going! Sugaree was very well put together.
Going to have to listen to the rest later.

Performed at the prison which housed the Grateful Dead's sound mentor, Augie Stanley -- lovingly known as Bear. One wonders if the warden gave him permission to run the board for this front of house mix, which, once the cobwebs are jettisoned, it sounds eminently like he was behind the mixing board that night. It takes about 3-4 songs to get to the meat, medium rare.
After the rough start, recording wise, the sound evens out and reveals a typically pedal to the metal, ballsy bash of all their faves. Pigpen sings a few, and since this is the second of his 10 show swan song there are some harmonica solos but no audible keyboards throughout.
Didn't matter how fucked up or how sick Blue Ron was, he always gave you all he had when he was on stage and every time he did Hard To Handle he excelled on it to the point of bringing the band up a notch with him. And every time I hear this song, even if it's on my local pool hall's jukebox, I revel in the funky bass rhythm and must always leap to my feet and commence to dancing. Such is the infectious nature of this tune, and especially the Dead's rendering of it.
The author of this song, Otis Redding, wrote it in the sixties and it was featured posthumously on 1968 pop charts about a year after his untimely death. I guess the Black Crowes (?) covered this one, too, and I've heard it, and their version, as well as Otis,' is pretty good, but ain'nobody ever cover this tune like the Dead when Pigpen sang it.
Not a lot written about this show, but owing to the wonderful separation on both the vocals and on the instruments it sounds like a Bear Board. Or else it was a Betty or Bob Board under Bear's watchful eye.
On Next Time there's just the four: Jerry, Bobby, Phil and Billy with a little Pig on harp. It is minimalist Dead defined. It's very raw like an open wound.
There is bass distortion here and there, on Casey Jones and especially on the first few songs. It's generally not enough to destroy your listening pleasure. However, on Big Boss Man and Sugaree, the bass distortion is so prominent that it may make you reach to attempt to e.q. it. Why bother?
Just clamp off your ears and scope in on that fine whine emanating from Jerry's Les Paul and it'll all get better. Or, it won't...
After close scrutiny it sounds like the last half of this entire concert had some sort of weird, full spectrum buzz on it. Such a shame that the latter half couldn't sound as good here as the mid portion of the first half when there is no perceptible low or mid range distortion. Maybe the warden told Bear to return to his cell and someone else took over mixing, who knows?
They sleepwalk through El Paso but the Mr Charlie is just well in the groove when Ron flubs the bridge, tries to come back in, and then motions to Jerry to go for it. Once back into the verse, Pig flubs it again and it ends okay but not great.
The rest of the show is lackluster due to pitch problems and Pigpen's lack of rehearsal. I saw them perform at Berkeley 10 days later and Pigpen was much more in synch with the band.
As I look back on this recording I marvel how that the performance, save Pig's vocal cue and lyric errors, is strong, but so tainted by distortion and other issues and anomalies too numerous to engage in with any further description.
This show is like a dysfunctional family. Mmmm, there's still some love there.

like usual, great sounding phil on these 8/71 boards
I sure am glad they didn't play "Sing Me Back Home" on this night - that would have been too sad!!